Papers by Rytis Ambrazevičius
Psichologiniai muzikinės darnos aspektai. Jų raika lietuvių tradiciniame dainavime
Psychoacoustical issues of dissonance in Lithuanian "Sutartinės
Atlikimo taisyklės" akademinėje ir tradicinėje muzikoje
Lietuvos muzikos ir teatro akademija eBooks, 2011
Sutartinių darna: psichoakustinis aspektas
Differential acoustical cues for palatalized vs nonpalatalized prevocalic sonants in Lithuanian
Page 1. mogus ir odis 2010 I ISSN 1392-8600 5 fonetika Differential Acoustical Cues for Palatal... more Page 1. mogus ir odis 2010 I ISSN 1392-8600 5 fonetika Differential Acoustical Cues for Palatalized vs Nonpalatalized Prevocalic Sonants in Lithuanian Diferenciniai akustiniai palatalizuotų ir nepalatalizuotų prevokalinių lietuvių kalbos sonantų poymiai ...
Psichologiniai muzikinės darnos aspektai : jų raiška lietuvių tradiciniame dainavime
Technologija eBooks, 2008
Psychoacoustical issues of dissonance in Lithuanian "Sutartinės
Muzikoznavča dumka Dnìpropetrovŝini, Dec 30, 2021
Tautosakos darbai, Dec 30, 2016
There is debate whether the foundations of consonance and dissonance are rooted in culture or in ... more There is debate whether the foundations of consonance and dissonance are rooted in culture or in psychoacoustics. In order to disentangle the contribution of culture and psychoacoustics, we considered automatic responses to the perfect fifth and the major second (flattened by 25 cents) intervals alongside conscious evaluations of the same intervals across two cultures and two levels of musical expertise. Four groups of participants completed the tasks: expert performers of Lithuanian Sutartinės, English speaking musicians in Western diatonic genres, Lithuanian non-musicians and English-speaking non-musicians. Sutartinės singers were chosen as this style of singing is an example of 'beat diaphony' where intervals of parts form predominantly rough sonorities and audible beats. There was no difference in automatic responses to intervals, suggesting that an aversion to acoustically rough intervals is not governed by cultural familiarity but may have a physical basis in how the human auditory system works. However, conscious evaluations resulted in group differences with Sutartinės singers rating both the flattened major as more positive than did other groups. The results are discussed in the context of recent developments in consonance and dissonance research.
Konsonansas ir disonansas muzikos psichologijoje
Aim of the paper is to review the results of systematic acoustic studies of musical scales in Lit... more Aim of the paper is to review the results of systematic acoustic studies of musical scales in Lithuanian traditional songs, conducted by the author of this paper together with a group of his students during the last several decades. The aim of the paper is not only to present the results of acoustic measurements, but also to consider their musical implications. They are fundamentally indistinguishable from the phenomena of music perceptionpitch categorization, collision of emic systems, "performance rules", etc. Methodology of the research is a computer-aided systematic approach to the analysis of Lithuanian folk songs with application of software for acoustic pitch measurements, analytical, statistical and historical methods. The scientific novelty of the research is determined by a new approach to studying the laws of Lithuanian folk singing heritage by applying the tools of physical sciences (acoustics) in the field of ethnomusicology and by evaluation of the results from viewpoint of music perception. Conclusions. Relics of equitonics and hybrid frameworks appear in the scales of traditional Lithuanian songs. Such cases are mistakenly perceived as "Ancient Greek" scales. Traditionally, vocal intonations have their own patterns of performance, the manifestations of which can often be mistakenly perceived as chromaticisms. Such conclusions can be obtained only with the possibility of using equipment for acoustic analysis.
Музикознавча думка Дніпропетровщини
Метою статті є ознайомлення з можливостями акустичного аналізу в інтерпретації флажолетних звуков... more Метою статті є ознайомлення з можливостями акустичного аналізу в інтерпретації флажолетних звукових закінчень українського та білоруського традиційного співу. Магістральним питанням актуальності презентованого наукового дослідження є максимальність аналітичного розгляду традиційного співацького феномену, а саме – деяких українських та білоруських співацьких прикладів, що повинні допомогти в більш інтонаційно чистій і точній ідентифікації такого роду співацьких традиційних характеристик, а також типологізації індивідуальних рис традиційного співу. Основним методом цього дослідження є акустичний аналіз; зокрема, аналіз зміни висоти та тембру (який, у фактичному випадку, визначається здебільшого звуковим спектром). Наукова новизна роботи полягає в тому, що вперше в східнослов’янській етномузикології досліджено акустичними методами феномен флажолетних звукових закінчень; це дозволяє точніше розкрити явище, що розглядається. Висновки. Традиційні вокальні «стрибки» у високий регістр буваю...
Acoustical cues for palatalization of binary consonant combinations
Differential acoustical cues for palatalized vs nonpalatalized consonants in binary consonant com... more Differential acoustical cues for palatalized vs nonpalatalized consonants in binary consonant combinations are discussed. At the beginning, the dependence of the general techniques of the investigation of the consonant position is considered: the techniques applicable in the case of prevocalic and postvocalic consonants are discussed. Also the case of absence of C->V and V->C transitions is analyzed. The main and the most frequently applied is the technique of F2 loci (including the case of “reversed” locus, i.e., the V->C transition). This technique is equally helpful in the case of facultative vowel occurring in between the two consonants in a combination. The acoustical attributes of the very consonants, such as F2 (of frication or/and phonation), spectral centroid (the “centre of gravity”), and the relative intensity of the second formant, also signify the palatalized/ non-palatalized consonants. Based on the mentioned methods, the palatalization of the formants of comb...
Differential acoustical cues for palatalized vs nonpalatalized prevocalic sonants in Lithuanian
Page 1. mogus ir odis 2010 I ISSN 1392-8600 5 fonetika Differential Acoustical Cues for Palatal... more Page 1. mogus ir odis 2010 I ISSN 1392-8600 5 fonetika Differential Acoustical Cues for Palatalized vs Nonpalatalized Prevocalic Sonants in Lithuanian Diferenciniai akustiniai palatalizuotų ir nepalatalizuotų prevokalinių lietuvių kalbos sonantų poymiai ...
Cues for consonant voicing : its assimilation in word juncture
The project began when Richard asked me to respond to his scientific approach to consonance and d... more The project began when Richard asked me to respond to his scientific approach to consonance and dissonance, which we abbreviate to C/D, from my point of view as a composer, performer and occasional theorist. Scientific approaches to C/D include those of Helmholtz, Stumpf, Cazden, Leonard Meyer, Terhardt and Krumhansl. We compare these with the composer’s viewpoint of James Tenney in his 1988 book “The history of consonance and dissonance”. We will also consider relevant writings of Heinrich Schenker and Arnold Schoenberg, and more recently of Karol Berger, Lawrence Dreyfus, and Pieter van der Merwe.
Konsonansas ir disonansas muzikos psichologijoje
Lietuvos muzikologija= Lithuanian Musicology. ISBN, 2006
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Papers by Rytis Ambrazevičius